Review Roundup: HADESTOWN Tour Kicks Off; What Are The Critics Saying?

Hadestown officially opened its North American Tour on Friday, October 15, at The John F. Kennedy Center for the Performing Arts in Washington, D.C. Kicking off at the Peace Center in Greenville, SC, the tour will visit over 30 cities in its first year, including Boston, Chicago, Dallas, Denver, Detroit, Los Angeles, Philadelphia, and San Francisco, with more to be announced shortly.

Check out the tour schedule here.

The North American Tour of Hadestown stars Drama Desk Award® nominee Nicholas Barasch as Orpheus, Morgan Siobhan Green as Eurydice, Tony Award winner Levi Kreis as Hermes, Kimberly Marable as Persephone, and Olivier Award® nominee Kevyn Morrow as Hades.

The Fates are played by Belén Moyano, Bex Odorisio, and Shea Renne. The Workers Chorus features Lindsey Hailes, Chibueze Ihuoma, Will Mann, Sydney Parra, and Jamari Johnson Williams. The swings for the touring production include Kimberly Immanuel, Alex Lugo, Eddie Noel Rodríguez, and Nathan Salstone.

Let's see what the critics are saying...

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Peace Center - Greenville, SC

Neil Shurley, BroadwayWorld: There's a reason these myths have survived for so long, and while HADESTOWN is beautiful to look at and inspiring to hear, undergirding the entire production are lessons and parables that continue to resonate in our own time. We all struggle with belief, both in ourselves and others. We all feel the compulsion to give in to our baser instincts. And most disturbingly, we still contend with forces of greed and exploitation and trickery and manipulation on both an individual and societal level. HADESTOWN drags these issues into the light, offering no answers, but reminding us how much truth can be found in a story.

Sandy Staggs, Carolina Curtain Call: But for this critic it was Marable's night. Always stunning and brilliant in every scene whether adviser to the king of the Underworld of purveyor of earthly desires such as liquor, love and song. In a register and style somewhere between Billie Holiday and Diana Ross, Marable delivers and then some as this manic, less-than-sober high-octane chanteuse in "Livin' It Up on Top" where she shares the spotlight with trombonist (Audrey Ochoa) in one of several incredible energetic solos written for this instrument in the score. Then, she thoroughly seduces us in the act two opener in the jazziest song of all, "Our Lady of the Wonderworld."

Kennedy Center - Washington, DC

Timothy Treanor, BroadwayWorld: Even though ancient myths set the broad outlines of this story, Mitchell wisely lets events flow from character. This necessarily requires characters of great complexity, and by and large the cast - particularly Morrow as Hades, Marable as Persephone, and Green as Eurydice - carry it off. Morrow, whose musical basso profundo is the polar opposite of Barasch's high tenor, could have made Hades a cartoon villain, but does not. Patrick Page, who originated the role on Broadway, opined that Hades was primarily a husband, whose great fear was that without his money and power he would lose Persephone. Morrow manages to edge that anxiety into the character of Hades, who is otherwise an icon of arrogance and power.

Peter Marks, The Washington Post: "Hadestown" reclaims the Opera House for musical theater in a show with a dreamy, New Orleans beat, a stylishly stylized directorial concept and some thinness of characters: The musical, which had its official Washington opening Friday, is a bluesy, snazzy-looking tribute to the enduring power of ancient tales. It's a dazzling diversion rather than a great musical, the difference residing in its underwhelming assault on the gut. You come away from composer-lyricist Anaïs Mitchell's handiwork with admiration for the melodies and the movement, even if you're emotionally underserved.

Sophia Howes, DC Metro: There are many utterly delightful sequences. The fabulous Kimberly Marable, from the Broadway cast, has two knockout numbers, "Livin' It Up on Top" with Hermes, Orpheus, and the Company, and "Our Lady of the Underground" on her own at the beginning of Act II. The Fates, Belén Moyano, Bex Odorisio, and Shea Renne, are a terrific song and dance team who seem to follow Green's Eurydice everywhere. Kevyn Morrow as Hades tempts Eurydice to join him in hell with "Hey, Little Songbird." His reunion with Marable's Persephone is expertly played, although she does seem to forgive him rather quickly for whatever he was up to with Eurydice.

Boston Opera House - Boston, MA

Don Aucoin, Boston Globe: Ihuoma captured Orpheus's ardor and over-eager persona while also delivering spine-tingling performances of songs like "Wait for Me," where he soared to the top notes with crystalline clarity. One can only imagine how thrilling it must have been for the actor, normally a member of the chorus, to meet the challenge of a lead role as skillfully as he did. It was thrilling for the audience as well.

Jacquinn Sinclair, WBUR: The cast is chock full of formidable voices, but Hermes (Levi Kreis) the night's tour guide on the ride to the Underworld, the singing "Fates" (Belén Moyano, Bex Odorisio and Shea Renee) and Orpheus, portrayed by understudy Chibueze Ihuoma are show stealers. Broadway in Boston had no comment on the status of Nicholas Barasch, the tour's regular Orpheus after Ihuoma appeared Wednesday and Thursday nights.

Ohio Theatre - Columbus, OH

Paul Batterson, BroadwayWorld: Barasch and Green make a vibrant pair of star-crossed lovers. Barasch has done everything from being nominated for the Drama Desk award for his role in SHE LOVES ME to starring as Austin the Purple Kangaroo on season 4 of THE BACKYARDIGANS. His melodic high tenor voice conveys his character's dreamy, optimistic outlook compared to Green's world-weary Mezzo-Soprano. Yet by the end of the play, Green's Eurydice becomes more trusting while Barasch's Orpheus transforms into a more guarded, more cautious person.

Michael Grossberg, The Columbus Dispatch: Utterly convincing in depicting a "love that never dies" are Nicholas Barasch's ardent, innocent Orpheus and Morgan Siobhan Green's wounded, initially wary Eurydice. Together, they make wonderful music (especially "Come Home With Me" and "All I've Ever Known"), while Barasch shines with the plaintive "Wait for Me."

Richard Sanford, Columbus Underground: By the nature of the story, Orpheus and Eurydice are both ciphers and, often literally, pawns in the machinations of forces beyond their control. It's to Green and Barasch's credit that they stake out such a distinct place in the audience's hearts. Their voices blend beautifully, with just enough grit and distinction stay consistently interesting on duets like "All I've Ever Known" and "Promises." Barasch is breathtaking when he conjures an uncanny strength in his naïve character, and does the almost impossible, along with Chavkin's direction, makes us think - as Hermes says - maybe this time the story will end differently.

Fisher Theatre - Detroit, MI

Stefani Chudnow, BroadwayWorld: The cast was also nothing short of phenomenal. Nicholas Barasch's Orpheus was just as passionate about his loyalties as you'd expect him to be; a specific acting highlight was "If It's True" in act 2. Morgan Siobhan Green's Eurydice felt vulnerable, yet strong-willed; you can look forward to her solo song, "Flowers." Levi Kreis as Hermes thrived most in the songs where he was the lead singer, and my personal favorite of his was "Road to Hell" at the beginning of the whole show.

Ronelle Grier, The Detroit Jewish News: With ample acting talent and an exquisite singing voice, Green gives life to the feisty street waif who sacrifices love for a disastrous deal. True to the legend of Orpheus, Barasch imbues the character with boyish charm and an extraordinary voice that climbs to an ethereal falsetto and back again as he composes the song that will fix the world's wrongs.

David Kiley, Encore: While we languish in a sea of manufactured musicals meant to take advantage of known characters ("Diana") or familiar movies ("Tootsie" and "Mrs. Doubtfire) and jukebox shows, it's gratifying to see a work and story, not to mention great writing, older than Christ come together so impactfully by a team of dogged and inspired creatives who pushed on hundreds of locked doors to get this show done, produced on the big stage and to the point of being a classic in its own right.

Fox Cities Performing Arts Center - Appleton, WI

Warren Gerds, We Are Green Bay: Creative brilliance abounds. Anaïs Mitchell achieves the trifecta - book, music and lyrics. Her vision is fulfilled with assists of the eyes of director Rachel Chavkin and choreographer David Neumann and ear of Liam Robinson as vocal arranger. (Liam Robinson grew up in Green Bay; see a feature story about him at the end of this review; he performs in the current Broadway production of "Hadestown").

Kelli Arseneau, Post Crescent: Rather than hiding in an orchestra pit, the band shares the stage with the actors, seated in risers on each side of the stage, and at times getting involved in the story-telling. Some actors on stage - including Orpheus and the three Fates - also carry instruments and contribute to the show's music. It's a team effort, and the result is a cohesive, powerful soundtrack.

Lindsay Christians, The Cap Times: It's no easy thing to pin down what makes Anaïs Mitchell's epic, heartbreaking, soul-filling musical so extraordinary. A few things pop to mind: that opening trombone lick; the gauntlet of lights that swing past Orpheus on his way to the underworld; the rhythmic intensity of the workers' chants and pure jazzy pleasure of "Our Lady of the Underground."

Saenger Theatre - New Orleans, LA

Robert Witkowski - Where Y'at: While André De Shields captivated audiences in the original Broadway cast in the role of Hermes, Levi Kreis makes the role his own, with charming mannerisms that seem to have been born on Bourbon Street, from opening the show by proudly showing off his ornate vest to his closing monologue. Other standouts in the production include Kimberly Marable as Persephone and Olivier Award® nominee Kevyn Morrow as Hades.

Alan Smason, Theatre Criticism: As Persephone, Kimberly Markable is a sheer delight as she preens about the stage taking gulps of wine and swigs of more potent libation from a silver flask. A member of the original Broadway cast, she plays the goddess and the object of Hades' affection with precision. When she is spotlighted in songs like "Our Lady of the Underground" and "Living It Up On Top," she thrills the audience with her zeal for life.

AT&T Performing Arts Center - Dallas, TX

Lindsey Wilson, Culture Map: Kimberly Marable is effervescent as Persephone, the goddess of fruit, flowers, and abundance. Even when she descends into an alcohol-soaked depression brought on by Hades' sudden obsession with power (and not her), she's scarily chipper. Kevyn Morrow, likewise, is smooth as silk in his portrayal of the devilish lord of the underworld. These two have the most complicated relationship onstage, and each strikes just the right balance of entertaining and truthful. Morgan Siobhan Green and Nicholas Barasch don't have quite the same electric connection as Eurydice and Orpheus, even though their love is supposedly strong enough to escape death (at least for a little while).

Orpheum Theatre - Memphis, TN

AniKatrina Fageol, BroadwayWorld: Hadestown National Tour does not disappoint! It is always a delight to see the actors making the characters their own and it is no different in this one. Levi Kreis has to be commended for his fun take on Hermes, taking the iconic character and giving him a little more dark humor than I am used to. It certainly worked for Kreis, who delights audiences from opening song to closing song. Nicholas Barasch and Morgan Siobhan Green portray Orpheus and Eurydice with enough naivety and charm to make them fan-favorites. Even if people are unfamiliar with the show, they may remember performances such as "Wait for Me" from the Tony Awards and Barasch's smooth-flowing high notes completely entrance the audience, just as the son of a Muse is supposed to.

Academy Of Music - Philadelphia, PA

G K Schatzman, BroadwayWorld: Despite the unlikely setup, the Tony Award-winning Hadestown is no joke, though it stirred up its share of laughs on its February 9th opening at the Philadelphia Kimmel Cultural Campus' Academy of Music. The musical from director Rachel Chavkin and folk singer Anaïs Mitchell, who wrote the music, lyrics, and book - standing forth as one of four women in Broadway's slanted history to do so - is a sad song and an old one, as the slick-shoed Hermes (Levi Kreis) tells us. Nevertheless, this spectacular touring cast sings it with a soulfulness that will stick with us well past the winter.

Chloe Rabinowitz, BroadwayWorld: The score is sung through and done so with expert musicianship by each of the cast members. Levi Kreis's incredible magnetism and vocal control as Hermes demands audience attention from the moment he steps on stage, Nicholas Barasch as Orpheus is a beautiful storyteller and sings like an angel, and Morgan Siobhan Green brings raw emotion and power to Eurydice. Kevyn Morrow has the necessary gravitas for the role of Hades, and Kimberly Marable is a standout as Persephone, putting reason, joy, heartbreak, and expression into not only each song, but every movement she makes. Belen Moyano, Bex Odorisio, and Shea Renne as the Fates blend as seamlessly as three strings played on the same violin. The ensemble is just as fantastic, moving the story forward through wonderful interpretation of David Neumann's choreography.

Durham Performing Arts Center - Durham, NC

Nicole Ackman, BroadwayWorld: But the show is not over-designed and lets its music and cast be the main focus. The national tour cast is thankfully as diverse as the original Broadway company, showing the production's commitment to equality in casting. Each of the performers does an excellent job of making the role their own, never seeming like an imitation of the actor who originated the role. Levi Kreis is fantastic as Hermes, entrancing the audience from his very first line. Kimberly Marable nails the physicality of Persephone and has gorgeous vocals to match, while Kevyn Morrow's Hades is as charming as he is intimidating.

CIBC - Chicago, IL

Rachel Weinberg, BroadwayWorld: While Barasch and Morgan Siobhan Green are capable actors and lovely singers as Orpheus and Eurydice, respectively, they lack chemistry. Individually, Barasch and Green give nice performances, and their vocal harmonies are on point. But the production doesn't make us feel their connection; again, I think some of that stems from the material itself, but their performances seem to exist on different planes.

Dennis Polkow, New City Stage: A huge asset of "Hadestown" is that Orpheus and Eurydice (Morgan Siobhan Greene) come off as a young, naive and adorable couple very much in love. That makes us feel Eurydice's death through Orpheus' loss more deeply as well as his desperation to fetch her from the underworld.

Paul Lockwood, Northwest Herald: Well-sung, well-acted, emotion-filled performances from all the leads (Kreis, Barasch, Green, Marable and Morrow), as well as the Fates (Belén Moyano, Bex Odorisio and Shea Renne), who comment on situations and also persuade characters to take actions that may not be in their best interests (for example, "Help yourself, to hell with the rest - even the one who loves you best").

Nancy S. Bishop, Third Coast Review: The cast is uniformly strong, including every Fate and chorus member who are intrinsic parts of the story flow. A key disappointment is Barasch's vocal performance, which lacks the power that the role requires. His young tenor voice pales on a stage with Levi Kreis (known for playing Jerry Lee Lewis in Million Dollar Quartet) and Kevyn Morrow.

Catey Sullivan, Chicago Sun Times: With a mesmerizing, blues-infused score and masterful storytelling, "Hadestown" follows the rough outline of the aforementioned myth: Eurydice (Morgan Siobhan Green) is perpetually hungry and struggling as she roams the world. She's ground down by the Fates (Belén Moyano, Bex Odorisio and Shea Renne) until, starving and exhausted, she falls into the clutches of Hades (Kevyn Morrow), King of the Underworld.

Orpheum Theatre - Minneapolis, MN

Jared F, BroadwayWorld: The musicians for this musical are onstage the entire time which adds to the scene under the music direction of Cody Owen Stine with arrangements and orchestrations by Michael Chorney and Todd Sickafoose. The cast had incredible vocals and fit their characters well. I enjoyed the opener "Road to Hell, Way Down Hadestown, When the Chips are Down, and Flowers." The entire cast including the ensemble all sang with authenticity and rawness that made their characters so believable that you forget they are actors. The ensemble had impressive choreography by David Neumann.

Dominic P. Papatola, Twin Cities: As in many touring productions in these sorta-post-COVID days, the understudies and swings in "Hadestown" are getting a lot of work. At Tuesday's opening night performance, for instance, Chibueze Ihuoma and Sydney Parra went on, respectively, in the leading roles of Orpheus and Eurydice. I don't know how often they've been paired together on stage, but the duo displayed an urgent and earnest energy, with Ihuoma's wide-eyed naiveté balancing with Parra's almost-feral sense of survival.

Boo Segersin, Twin Cities Arts Reader: When I studied musical theatre in college, we were taught that the ideal musical equally combined acting, dance, and music to tell the story. Hadestown not only succeeds at this, but takes it to an unexpected extreme, using not only these elements, but the set, lighting, costume design, props, scenic elements, and band in equally important hands to tell this new take on Greek mythology. Never before have I witnessed such a well-balanced piece of musical theatre, with every aspect of the show is in perfect harmony with one another. Director Rachel Chavkin clearly worked closely with her creative team to create a cohesive work of art.

Civic Center Of Greater Des Moines - Des Moines, IA

DC Felton, BroadwayWorld: The fantastic performances continued with Nicholas Barach, who I was excited to see live on stage. I had seen him in the live captured performance of "She Loves Me," one of my favorite musicals, as Arpad. He takes the stage here as Orpheus and does a phenomenal job. The way he can transition singing from his lower register to his higher register is effortless and beautiful. Opposite him in the role of Eurydice is Morgan Siobhan Green. She brings so much heart to Eurydice that, as an audience, you feel her struggle leading her to choose to go to Hadestown.

Orpheum Theater - Omaha, NE

Courtney Brummer-Clark, Omaha.com: First thing you should know about "Hadestown," now on stage at the Orpheum Theater, is you probably already know how it ends. It's kind of like "Titanic." "Hadestown" is based on a Greek tragedy, so don't count on a totally happy ending. That aside, the second thing you should know is that every single singer in this touring cast brought their A-game on opening night. It's difficult to single out any one part of this show as the best, so here are some of the highlights that are sure to impress.

Centennial Hall at the University of Arizona - Tucson, AZ

Kathleen Allen, Tucson.com: The whole cast deserves accolades. Morgan Siobhan Green infused Eurydice with a street-wise vulnerability. Levi Kreis, a Tony-winner for his role as Jerry Lee Lewis in "Million Dollar Quartet," filled his Hermes with wit. Kimberly Marable's Persephone was gritty and forceful. And Kevyn Morrow put his deep baritone and impressive stature to good use in the role of Hades.

ASU Gammage - Tempe, AZ

Ryan Knappenberger, The State Press: "Hadestown" goes further than any mainstream musical in promoting a strong critique of capitalism, linking it to climate change and promoting strong leftist ideals, like in "Livin' it Up on Top" when Orpheus gives a toast to Persephone for providing them their food and drinks.

Timothy Shawver, BroadwayWorld: It's certainly storytelling before story. Hermes (played by a sly and devine Eddie Noel Rodriguez) is our emcee. As the Herald of the Gods, Hermes sets the scene, introduces the characters, and by operating with no fourth wall, keeps the show self-aware. More of a "Here's what happened next..." and "Here's my opinion of that..." type narrator, Hermes himself doesn't move the onstage inner-plot forward, leaving that assignment to The Fates.

Ahmanson Theatre - Los Angeles, CA

Dyanne Weiss, Liberty Voice: "Hadestown" begins with suave Greek god Hermes (Tony winner Levi Kreis) serving as emcee and introducing the characters and premise. Eurydice (Morgan Siobhan Green), a young woman down on her luck, comes into town in the hopes of escaping the harsh weather and famine elsewhere. Played by Belén Moyano, Bex Odorisio and Shea Renne, the Fates are a Greek chorus of caustic goddesses who help flesh out the tale by raising questions and pointing out dilemmas. They relate how the changing climate affected Eurydice, "... there ain't a thing that you can do, when the weather takes a turn on you." They sing about a world in flames and hurricanes. "Flood will get you if the fire don't, anyway the wind blows."

Eric A. Gordon, People's World: This Brechtian version of Hadestown captures the essence of fetishistic monopoly capitalism, amassing wealth like the comic book Uncle Scrooge beyond any rational purpose other than to protect it from any who might wrest it away. The "enemy," in the end, is not on the outside, but is the proletariat itself-the global working class if it can be said that, after all, it's not just American workers who go to Hadestown. The Fates sing, "You can have your principle when you have your belly full," which has to be Mitchell's adaptation of "First feed the face and then talk right and wrong" from The Threepenny Opera. In the musical, as Eurydice steps out on her long journey following Orpheus out of Hades, she is herself joined by an army of what are identified in the cast as the Workers Chorus, who resemble nothing so much as Eugene O'Neill's cast of maritime toilers in The Hairy Ape.

Civic Theatre - San Diego, CA

Pat Launer, Times of San Diego: It's fabulous even with understudies in two lead roles on the night I was there (Chibueze Ihuoma as Orpheus and Eddie Noel Rodríguez as Hermes, the messenger of the Olympian gods, who serves as our host and guide), both performing flawlessly along with the cast regulars: big-voiced Morgan Siobhan Green as Eurydice, marvelous Kimberly Marable as Persephone and basso profundo Kevyn Morrow as Hades. Commenting (and trouble-making) throughout are the Fates: Belén Moyano, Bex Odorisio and Shea Renne.

Orpheum Theater - San Francisco, CA

Steve Murray, BroadwayWorld: There are national touring productions and then there's Hadestown at the Orpheum, a thrilling, inventive, impeccably crafted show that is serving to shape a new paradigm for Broadway musicals. Recognized with eight Tony awards, it's similar in impact to Rent or Hamilton in its innovative score, staging and social importance. Using the ancient legend of Orpheus and Eurydice as a starting point, Hadestown is imbued with timely social criticism that bridges the worlds of the Gods and mortals, those currently abusing power, and the rest of us.

Lily Janiak, Datebook: Orpheus' melody is as wondrous and hypnotic as a spinning carousel, and Barasch's high tenor pierces like a sound man isn't supposed to make. A trio of Fates (Belén Moyano, Bex Odorisio and Shea Renne), alternating among wry taunts, dire warnings and shattering sympathy in their swishy dresses and feathered turbans, harmonize the way shifting winds whistle. Morrow's menacing bass seems to open cracks in the Earth and let the underworld's magma gurgle forth.

Sam Hurwitt, Mercury News: The touring cast is superb, especially Kimberly Marable (who was in the chorus of the original Broadway cast) as a sardonic, fed up but fun-loving Persephone with fabulous jazzy delivery. Kevyn Morrow is a smooth, jealous lover with a sinister baritone as her husband, Hades, lord of the dead. Levi Kreis makes a charismatic narrator with a brassy voice as the god Hermes.

First Interstate Center for the Arts - Spokane, WA

Seth Sommerfeld, Inlander: Kevyn Morrow brings a sinister bassy edge to Hades, which makes the couple's plight feel truly menacing. Kimberly Marable, as Hades' wife Persephone, knocks 'em dead in her Act II-starting sultry jazz diva showpiece, "Our Lady of the Underground." And Kreis' Hermes struts with a snake oil salesman swagger that brings bravado and levity to the show in spots where that's needed. And the Fates (Belen Moyano, Bex Odorisio, Shea Renne) add a spiritual chorus vibe to the proceedings by creeping around the stage to add vocal melodies, accordion accompaniment, dramatic string flairs, and hand percussion.

Carolyn Lamberson, The Spokesman-Review: This is no sword-and-sandals epic - there's not a toga in sight. The setting is early 20th century America - judging from the wrought iron balcony railings, New Orleans, perhaps? - and the music is an appealing combination of Americana, jazz and some good ol' Broadway pizazz performed on stage by a top-notch seven-piece band. Created by singer-songwriter Anais Mitchell, the show began life as a folk opera before it developed into a full-on musical. Director Rachel Chavkin, who helmed "Natasha, Pierre and the Great Comet of 1812," has created a world that feels fully immersive even as it relishes simplicity. The set changes, expanding from the roadside bar setting of the above-ground world to Hades' massive underworld factory complex, with the souls of the dead as his workforce. The effects are low-key - some swinging lanterns and a revolving stage, and an impressive light show. The costumes fit the characters, with our gods and mythical creatures decked out in sparkles, while the average folk are in simpler attire.

Paramount Theatre - Seattle, WA

Jay Irwin, BroadwayWorld: The show has everything a good Greek myth should have. A lively narrator in the guise of Hermes (Levi Kreis) and of course those mysterious Fates (Bex Odorisio, and a couple of outstanding understudies with Sydney Parra and Lindsey Hailes) wafting their way around the stage. But this myth is not told with sweeping togas or towering stone columns. The fantastic set design from Rachel Hauck puts us more in a timeless realm but akin to a gritty mining town and tavern. Perfectly complemented by the lighting from Bradley King, the tone of the piece brings in a dark and spooky yet enticing and sexy world especially when matched with the stunning costumes from Michael Krass.

Jerald Pierce, Seattle Times: Credit goes to director Rachel Chavkin and the design team behind the musical. "Wait For Me," sung as Orpheus sneaks his way into the underworld, may be one of the most spectacularly staged musical numbers I've ever had the pleasure of seeing. (I don't say that lightly, especially with "Hamilton" coming to town featuring a previous favorite in the double whammy of "Helpless" and "Satisfied.") Lighting designer Bradley King's work is dynamic, using headlights on the helmets of the coal miner ensemble, handheld lanterns and swinging lights hanging from the rafters. Couple that with Rachel Hauck's clever set and David Neumann's fantastic choreography and you have a technical marvel executed to perfection by this cast.

Keller Auditorium - Portland, OR

Krista Garver, BroadwayWorld: The big story on Broadway this year has been the previously underappreciated roles of understudies. That is also true of this production. On opening night, there were several understudies in the cast, including J. Antonio Rodriguez, who stepped into the role of Orpheus. Rodriguez's falsetto (which gets a lot of work in the show) is just as rich as his full voice, and he finds the perfect balance between head-in-the-clouds optimism and real-world courage and determination. I saw the Broadway production, and Rodriguez's performance was better than the original IMO.

Eccles Theatre - Salt Lake City, UT

Tyler Hinton, BroadwayWorld: The original Broadway cast has left an indelible mark with shoes that are difficult to fill, but this talented touring cast is reinventing their roles with fervor and force, creating their own unique impressions. These include the Tony winning Levi Kreis as Hermes (Jerry Lee Lewis in MILLION DOLLAR QUARTET), the Olivier nominated Kevyn Morrow as Hades (Coalhouse Walker in RAGTIME), Kimberly Marable as Persephone, Chibueze Ihuoma as Orpheus, and Morgan Siobhan Green as Eurydice.

Ryan Painter, 2KUTV: I can't imagine what the show would look like without Ihuoma as Orpheus. Or any of the other actors. Well, I can imagine Page as Hades, but that's because I've interviewed him, and his voice is still in my head. Morrow's take on Hades was fantastic. The whole cast is just phenomenal.

Nancy Van Valkenburg, Gephardt Daily: Standouts in a stellar cast are Marable, whose voice is strong and true, and who adds a needed light comedy to the somewhat grim story. Marable's singing and acting are spot on, and leave nothing to be desired. Morrow (Hades) has a deep, expressive voice, and brings a strong presence and devilish charm to most of his scenes.

Segerstrom Center for the Arts - Costa Mesa, CA

Michael Quintos, BroadwayWorld: An enchanting, deeply resonant, and wholly entertaining reimagining of an ancient tragedy of love and loss, the show's impressive touring company---now on stage at Orange County's Segerstrom Center for the Arts in Costa Mesa, CA through August 21, 2022---is not just some oversimplified myth diluted for mass consumption (and comprehension), but rather a beautifully layered piece of imaginative theater that stirs as it entertains.

Alisa Hayashida, South Pasadenan: Kimberly Marable is a fierce and fabulous Persephone and Kevyn Morrow is truly worth the price of admission with his buttery vocals and off the charts charisma as Hades.

Russell Tom, SoCal Thrills: Yet storytellers retell and the audience consumes like it was revealed for the first time. The audience is given the opportunity to find the take away and apply the lessons to our own lives with or without action. Levi Kreis (Hermes) brings is Tony Award-winning appeal to the stage. Kevyn Morrow (Hades) carrys a Keith David-like magnetism and suave. Kimberly Marable (Persephone) is a powerhouse from the original Broadway company of Hadestown.

Denver Center for the Performing Arts - Denver, CO

Barbara Ellis, The Denver Post: For this national touring company, strong performances by Morgan Siobhan Green as Eurydice and Chibueze Ihuoma as Orpheus are at the center of "Hadestown," but most every other actor and musician on stage completely killed his or her part in the musical; they simply mesmerized.

Majestic Theatre - San Antonio, TX

Deborah Martin, San Antonio Express-News

Bass Concert Hall - Austin, TX

Bob Abelman, The Austin Chronicle: "It's an old song" - a boy-meets-girl, boy-loses-girl tale of mortal love - sings the show's narrator Hermes (a suave and melodious voiced Levi Kreis), the seductive conductor of souls into the afterlife. "And we're gonna sing it again." So glad they did.

Tulsa Performing Arts Center [Chapman Music Hall] - Tulsa, OK

James D. Watts, Jr., Tulsa World: Ihuoma, with his angelic falsetto and boyish energy, is a wonderful Orpheus, and a fine contrast for Green's earthy Eurydice. Morrow is a suavely sinister Hades, while Marable rattles the rafters as the exuberant Persephone.

Hobby Center for the Performing Arts - Houston, TX

Chris Vognar, Preview: Musical comedies are a dime a dozen. "Hadestown," the highly decorated show now in the midst of its touring Broadway run at the Hobby Center, is something rarer: a musical tragedy. Beneath the often-raucous songs, infused with blues, gospel and New Orleans jazz, lies a mournful tale of doomed love, set in an underground world of worker exploitation and climate crisis, ruled by the storied lord of the underworld who gives the show its name. This is a work of buoyant sadness, joyful despite itself.

Jessica Goldman, Houston Press: It's a sad tale; it's a tragedy Hermes (Nathan Lee Graham) reminds us once again as we dust off from the fateful ending. However, it's hard to feel anything but glee when it's Graham's turn on stage. His silver shiny suit with winged sleeves and sequin vest may twinkle, but the true spark comes from the performance itself, marrying seductive bravado with masterful vocals.

Fox Theatre - St. Louis, MO

Gerry Kowarsky, HEC: On its opening night at The Fox, Hadestown proved itself worthy of the eight Tony Awards it received in 2019, including best musical and best original score. The show and the touring production are achievements of the highest order.

Civic Center Music Hall - Oklahoma City, OK

Adrienne Proctor, BroadwayWorld: Making his tour debut is Oklahoma's own J. Antonio Rodriguez. Rodriguez performs as Orpheus on opening night in OKC, and he performs the role well. Rodriguez has gorgeous vocal abilities. He's skillful with guitar playing and heart-wrenching in his characterization. Rodriguez easily proves himself to be the triple-threat we've always known him to be. Orpheus is arguably the weakest link in the show. His mistakes humanize and villainize him, and Rodriguez is challenged with making this character relatable. He does it all and then some. His shining moment comes near the end of Act I with the breathtaking "Wait for Me". This number alone is worth the price of the ticket. Rodriguez is technically the understudy, but he owns this role and makes it uniquely his.

Tennessee Performing Arts Center - Nashville, TN

Jeffrey Ellis, BroadwayWorld: A veritable feast for all the senses, Hadestown offers its audiences a spectacularly designed physical production: Rachel Hauck's stunning and evocative scenic design is illuminated to perfection by Bradley King's eye-poppingly gorgeous lighting design, while Michael Krass ideally clothes Chavkin's superbly talented cast in the perfect raiment for a dystopian society that somehow venerates fashion sense as easily as it exemplifies the futility of rampant civic greed and corruption.

Blumenthal Performing Arts Center: Belk Theater - Charlotte, NC

Perry Tannenbaum, BroadwayWorld: Mitchell enriches her devilish brew with a score steeped in the decadence of New Orleans jazz, repeatedly underlined by a doo-wop trio of Fates whose only moral failing is going along with the flow. These stylish female backups are ultimately more successful in getting into the impoverished Eurydice's head than Orpheus, who is preoccupied with finishing the song he believes will restore springtime to the world. Quinn's basso sleaziness is given a robber baron vibe with an infectiously chugging railroad line running directly to his realm, and the combination of Rachel Hauck's scenery and Michael Krauss's costumes makes our dystopian world seem nearly as nocturnal as the netherworld.

Benedum Center for the Performing Arts - Pittsburgh, PA

Jordana Rosefeld, Pittsburgh City Paper: The cast performing in Pittsburgh features new principal actors about one month into their time with the touring company, and their performances (as well as those of the rest of the cast) are radiant. Whitley's haunting turn as Eurydice is a perfect foil to Ihuoma's soaring optimism as Orpheus, his gorgeous and piercing falsetto a perfect counterpoint to Quinn's bass (his bio says he "originated several villainous roles for Disney Cruise Line," which is probably all you need to know there).

Greg Kerestan, BroadwayWorld: As is usual for national tours, the cast is excellent, split about evenly between performers breaking the mold of their predecessors and performers clearly existing in the shadow thereof. Chibueze Ihuoma plays a gentler, simpler Orpheus, leaning into the implication that Orpheus may be neurodivergent and not just a creative airhead. He sings more of the show in his own voice and his soulful falsetto, rather than the intentional (and symbolic) imitation of Jeff Buckley which Reeve Carney affected on Broadway for much of the show. His counterpart, Hannah Whitley, goes in the oppoiste direction, creating a tougher and more weathered and world-weary Eurydice in comparison to Eva Noblezada. Her acoustic ballad "Flowers" in Act 2 often feels like a lament, while here Whitley makes it a suppressed scream of frustration. Nathan Lee Graham lands right in the middle with his pitch-perfect Goldilocks of a "just right" performance as Hermes. Funny, flamboyant and a little sinister, like a drag-show version of a Baptist preacher, Graham leers, minces and struts his way through the show much like the Grand Duke of theatrical archness, Andre De Shields.

Straz Center [Carol Morsani Hall] - Tampa, FL

Drew Eberhard, BroadwayWorld: The Broadway Smash Hadestown, takes the stage by storm and leaves no prisoners in its wake. I for one am thankful for this time, the time to sit in a sacred space and experience the undeniably beautiful event that is live theatre, and the Straz Center is the Gift that keeps on giving, not only during the holiday season, but all year long. Their 2022/2023 Bank of America Broadway Season is one of the absolute best yet!

Dr. Phillips Center for the Performing Arts - Orlando, FL

Seth Kubersky, Orlando Weekly: Mitchell's toe-tapping score weaves jazz, blues and folk music with Tin Pan Alley traditions into songs that feel both timeless and current; they could have been unearthed on a century-old wax record, or be streaming today on WXPN's "World Cafe." And with piano-pounding Nathan Koci leading the onstage honky-tonk orchestra, it's hard not to wish that scenic designer Rachel Hauck's NOLA-meets-Bartertown juke joint extended beyond the proscenium (as it did in the immersive New York production), so you could jump up on the turntable and join in with choreographer David Neumann's organic movement.

Albert Gutierrez, BroadwayWorld: As mentioned earlier, Chibueze Ihuomo plays Orpheus, and does so with a gusto and innocence that made him an immediate favorite. Suffice it to say, on my drive home, I was slightly disappointed that the original Broadway cast recording doesn't have as much umph as Ihuomo's vocals. I've got nothing against Reeve Carney's recording (been a fan of his since The Tempest), but Ihuomo's vocals feel more at home for the character of Orpheus. Carney's voice has always been more "indie rock" for me than Broadway belter; Hadestown does have some beltable songs, but Orpheus's tracks often require a sweetness that Ihuomo conveys better.

Kravis Center for the Performing Arts - West Palm Beach, FL

John Thomason, Boca: Seeing Mitchell's vision transferred to a proscenium at last night's Palm Beach County premiere was a mixed bag: Its moments of beauty and some of eccentricities still resonate, but it remains dogged by a certain cerebral detachment-by a Broadway outsider's chafing against the time-honored elements that make musical theatre so successful. It's still an expression of folk poetry shoehorned into the quite literal world of song, dance and storytelling, and to fully immerse oneself in "Hadestown" is to transcend this squaring of circles. I couldn't quite get there, though not for lack of trying.

Mary Damiano, Palm Beach Daily News: Graham makes a charming narrator, and his opening number, "Road to Hell," is a showstopper. Whitley and Ihuoma are convincing as the young lovers, but their story is overshadowed by Quinn and West, who are standouts individually but also possess smoldering chemistry, making their duet "How Long?" one of the highlights of show. West kicks off the second act in dynamic fashion with "Our Lady of the Underground." Quinn, with his rich, sonorous voice, steals the show with his big numbers, "Why We Build the Wall" and "His Kiss, The Riot."

Fox Theatre - Atlanta, GA

Emma Loggins, FanBolt: While the story itself lends itself well to the show's overall vibe, every element empowers the overall production. The sets are beautifully designed, the performances showcase incredible talent, and the choreography gave me chills throughout, most notably during "Wait for Me."

Kansas City Music Hall - Kansas City, MO

Alan Portner, BroadwayWorld: Combine Mitchell's wonderful, simple melodies, two poignant love stories, a significant dose of humor, a sobering visual about real world cruelty with wide audience appeal, and you get a show with more layers than a tasty yellow onion. "Hadestown" is an exercise in metaphor and allegory.

Vivian Kane, KC Studio: Hadestown's touring cast is stellar. Graham is a delight as Hermes. Ihuoma's voice is impossibly angelic and his chemistry with Whitley is sublime. I love an on-stage band and this one fleshes out the jazz-joint setting perfectly. Rachel Hauck's set and Bradley King's dusky lighting are majestic and transportive. (Although the decision to repeatedly shine powerfully bright lights directly into the audience throughout the show certainly was a choice.) If there's one thing you can count on with a touring Broadway show it's top-tier production value and Hadestown is no exception.

Overture Center - Madison, WI

Scott Rawson, BroadwayWorld: Much like the rest of this year's season at The Overture Center, I was really looking forward to Hadestown, and there were many aspects I enjoyed. The New Orleans type jazzy feel of the entire show was immersive and incredible! The set was marvelous, as were the lighting arrangements. Bravo to Rachel Hauck on Scenic Design and to Bradley King for Lighting Design. Having the band on stage helped set the mood and added to the entire experience. Notably, it was a joy to watch Michiko Egger playing guitar with genuine joy and listening to Claire Armenante play violin filled me with a longing for Louisiana like nothing I have felt before.

Connor Palace - Cleveland, OH

Roy Berko, BroadwayWorld: The cast all have strong singing voices and well-developed acting chops. Nathan Lee Graham compels as Hermes. He controls the stage whenever he appears, whether speaking, singing, moving, or just standing, he is the center of the action. Hannah Whitley (Eurydice) and Chibueze Ihuoma (Orpheus) are wonderful as the young lovers. Brit West (Persephone) and Matthew Patrick Quinn (King Hades) spare and spark with effectiveness.

Joey Morona, Cleveland.com: The brilliance of "Hadestown" starts with Anaïs Mitchell. Somehow, she's taken a 2,500-year-old story and made it feel new and relevant by crafting a cautionary tale of poverty vs. power that speaks to the current political climate and giving it a pulsing score that showcases genres of American music not typically featured in Broadway musicals. Just like the character of Orpheus himself when he sings of the power of love, the show makes you see how the world could be in spite of the way it is. And, thankfully, it does so in a manner that's inspiring and not overly sentimental.

Shea's Performing Arts Center - Buffalo, NY

Michael Rabice, BroadwayWorld: The cast is uniformly excellent and the onstage band is red hot ,as one would expect in Hadestown. But the crux of the issue lies in the fact that the story, especially as played out in the first act, often lacks cohesion and begs for more focus . Do we care about Eurydice from the outset? The mythical characters are now represented and costumed in somewhat modern dress and the fantastic world of the Gods now seemed commonplace. It became a challenge to love what was unfolding, albeit sung by wonderful singers.

Peter Hall, Buffalo Rising: Remember how you felt when seeing HAMILTON, that it was so different from a typical Broadway show, that the music was so varied, and the characters so vivid? That's how you'll feel at HADESTOWN. And, as in HAMILTON, the set is faithful to the show, fully integrated, and even has a turntable put to great use in a variety of numbers.

Proctor's Theatre - Schenectady, NY

Steve Barnes, Times-Union: If quality art takes time, so be it. In the case of "Hadestown," the yearslong investment returns richness in story and song, performed by an onstage ensemble that totals 20: eight principal roles, five chorus members and seven onstage instrumentalists, including a stellar trombonist who also plays glockenspiel and is the assistant conductor (Emily Fredrickson). There's enough talent in the road company that a last-minute performer substitution, causing a 20-minute starting delay Tuesday, was undetectable from the audience. (A Proctors representative said the replacement was cellist Natalie Spehar, stepping in for the ailing Kely Pinheiro.)

Paul Lamar, The Daily Gazette: Perhaps there's a message to take away from this story, which is full of dualities - love/hate, the haves/have nots, spring/winter, heaven/hell - and it is probably the duality Hermes mentions: "Orpheus can make you see how the world could be in spite of how it is."

Bushnell Center for the Performing Arts - Hartford, CT

Brooks Appelbaum, BroadwayWorld: On opening night, the role of Orpheus, usually played by Chibueze Ihuma, was played by his understudy, J. Antonio Rodriguez. Rodriguez's voice, which for this role must work in a high, sweet, register without sounding like a false falsetto, is perfect, and he beautifully portrayed the musical genius who can "put the world back in tune" with a song but who suffers from nearly agonizing shyness and self-doubt. Rodriguez got us firmly on his side, making his journey through adoration for his Eurydice and then, literally, to hell and back, poignant and nuanced.

Nancy Sasso Janis, Patch: The writer's beguiling and lyrical melodies and the director's strong vision pit industry against nature, doubt against faith, and fear against love. The tiny bits of dialogue presented in rhyme intersperse the mostly sung-through score, with roots in folk and New Orleans jazz. Given the setting, it is a haunting theatrical experience, but there is a hopeful tenant at its end.

Auditorium Theatre - Rochester, NY

Colin Fleming-Stumpf, BroadwayWorld: This touring production of "Hadestown" could not have been better cast, with each performer taking turns captivating the audience and delivering lush, emotional musical performances. Ihuoma's Orpheus is tender and naïve, with a signature falsetto that emphasizes his youth and innocence. Nathan Lee Graham's Hermes is sassy and playful, the perfect narrator to guide the audience through the story. Lana Gordon's Persephone has contagious energy and spirit. And towering above them all is Matthew Patrick Quinn's Hades, a sinister and bone-chilling stage presence whose baritone voice and maniacal laugh can almost certainly be felt from the parking lot.

Providence Performing Arts Center - Providence, RI

Jessica Tabak, BroadwayWorld: This retelling of the Orpheus and Eurydice myth begins in a Depression-era speakeasy, where the earnest, impractical Orpheus (Chibueze Ihuoma, played during Tuesday's performance by Jordan Bollwerk) falls in love with Eurydice (Hannah Whitley), a "hungry young girl" who finds herself reciprocating his affection, despite fears that his musical career will not provide for their material needs. When her misgivings prove true, a cold and starving Eurydice must make a terrible choice that tests the bounds of Orpheus's love - and plunges the play into an industrialized version of Hell, where Hades (Matthew Patrick Quinn), ruler of the underworld, feeds his greed by exploiting laborers for eternity.

Ken Abrams, What's Up Newp: Thematically, the show is heavily layered in allegory. Based on the story of Orpheus and Eurydice, it's about a young man's struggle to compose a song intended to bring the return of Spring, as the seasonal patterns have been thrown off due to environmental damage. That story of young love is at the forefront as Orpheus, played brilliantly on Tuesday by understudy Jordan Bollwerk, falls for Eurydice, a lost soul played by Hannah Whitley.

Hershey Theatre - Hershey, PA

Rich Mehrenberg, BroadwayWorld: The music of Hadestown is mesmerizing and memorable. I already put the soundtrack on my Spotify playlist. Placing the orchestra directly on stage enhances the melodic experience for the audience. The score is, by far, the best aspect of the show.

Hippodrome Theatre - Baltimore, MD

Jack L.B. Gohn, BroadwayWorld: In making these characters so multifaceted and inconsistent, playwright, composer, and lyricist Anaïs Mitchell and her collaborator, co-developer and director Rachel Chavkin, run a great risk of our experiencing these characters as being without coherent centers, but that doesn't happen. Somehow we find ourselves trusting in the existence of the unseen connective tissue; it adds to the richness and depth of the experience. As in many folksongs, the character inconsistencies are just presented without apology; life and people are like that, those songs and this show may be telling us. And so we pay close attention to these characters, yearning to know them better.

Uihlein Hall at Marcus Center For The Performing Arts - Milwaukee, WI

Kelsey Lawler, BroadwayWorld: Everything from the complex harmonies to the scene-making choreography must work together in perfect synergy. There's no room for sour notes or missed cues. I'm delighted to report the current touring cast of Hadestown delivers big time.

DeVos Performance Hall - Grand Rapids, MI

Marin Heinritz, Revue: But it's the telling that's remarkable. With a dynamic narrator Hermes (Nathan Lee Graham) as the glue between worlds (the two depicted onstage as well as performers and audience) and phenomenal Fates (Dominique Kempf, Belén Moyano, Nyla Watson) as guides for both the characters on stage as well as the audience, the action unfolds beautifully through folksy, bluesy, indie-pop songs shot through with wonderful harmonies, sung exquisitely, and accompanied by talented musicians on stage.

The Kentucky Center for the Performing Arts - Louisville, KY

Kathryn Gregory, Courier Journal:  As Hermes, Graham shines every time he opens his mouth, smiles at the audience, or moves, really. He's a top-to-bottom delight and it's hard to take your eyes off him in songs like "Road to Hell," "Livin' It Up on Top," and "Way Down Hadestown." It's stunning that the supreme talent of Graham and the aforementioned Fates serve as the lyrical backdrop for the main characters in "Hadestown." (They're that good). But, it's true. The cast, led by Hannah Whitley as Eurydice, J. Antonio Rodriguez as Orpheus, Maria-Christina Oliveras as Persephone and Matthew Patrick Quinn as Hades himself, was endlessly talented.

Walton Arts Center - Fayetteville, AR

Kevin Kinder, Fayetteville Flyer: While the musical had me clamoring to brush up on Greek mythology, that’s hardly necessary to understand what’s happening in the show. And it’s not particularly helpful, as the tales of Persephone and Hades and Orpheus and Eurydice differ amongst their ancient origins. It’s fair to say that “Hadestown” plays loose with source text, and in painting Hades as a potentially sympathetic creature, it glosses over the idea that he kidnapped Persephone, his niece. Things are easier if we decide to overlook those parts.

Monica Hooper, Democrat Gazette:  The star of the show is Graham, though he's gracious with the spotlight. His career credits include spots in the original Broadway cast of "The Wild Party" and "Priscilla, Queen of the Desert" and movie credits in "Zoolander," "Zoolander 2" and "Sweet Home Alabama." One of my favorite moments in the evening was when the music drops away and he sings out on his own. It's one of those moments that remind you how powerful and moving a single voice can be -- especially in the moments that we can see each other.

National Theatre - Washington, DC

Roger Catlin, BroadwayWorld: Matthew Patrick Quinn is a standout as Hermes, in part because his voice is several octaves lower than anyone else on stage. Following the lead of Patrick Page, who originated the role off-Broadway and on (and was just in D.C. as “King Lear”), Quinn has some experience in this area, having, according to his bio, “originated several villainous roles for Disney Cruise Line such as Scar, Jafar and Captain Hook.” 

Bass Performance Hall - Fort Worth, TX

Brian Kendall, fortworth: Though it has yet to reach the heights of its forebears, “Hadestown,” which is showing at Bass Performance Hall through this Sunday, July 2, seems primed to take the leap into “classic” musical territory. Its songs will become standards and productions, from amateur playhouses and high schools to the Toronto Theatre District, will become commonplace. Yeah, “Hadestown” is the “it” musical of the moment. The thing you absolutely have to see.

Dallas Voice: Of particular notes. The Fates were a phenomenal trio. Played by Dominique Kempf, Nyla Watson and Cecilia Trippiedi, their harmonies were truly stunning. The band, which was onstage, was a handful of players that filled the stage and venue with big sounds and then dialed the music way back for the quieter moments and ballads.

Royal Alexandra Theatre - Toronto, CA

Isabella Perrone, BroadwayWorld: With its roots in Greek mythology, HADESTOWN seems to take inspiration from countless eras; early on Hermes states: “Don’t ask where, don’t ask when,” almost as a means of removing the story from being compared to one single thing. It’d be possible for people to garner different ideas of what message is at the core of this musical - capitalism, climate change, marital struggles, and poverty are all prevalent throughout. However, the one idea that rears up in each situation is, simply, love. And it’s presented incredibly earnestly, and effectively, in HADESTOWN.

Martin Morrow, The Globe and Mail: Musically and visually, however, Hadestown looks back to bygone eras. Mitchell’s songs have deep folk and jazz roots (not to mention echoes of seminal musicals Rent and Les Misérables). Director Rachel Chavkin’s splendid production locates the story in what looks to be a Depression-era New Orleans.

National Arts Centre - Ottawa, ON

Courtney Castelino, BroadwayWorld: Anaïs Mitchell’s score is ultra catchy, a jazzy-folk mix that acts as the perfect medium to tell the story. The vocals are varied, which differentiate the characters and keeps the songs from becoming repetitive; Quinn truly shines here with Hades’ deep bass vocals. Rodriguez can reach unbelievably high notes, used to further represent Orpheus’s pure heart.

Lynn Saxberg, Ottawa Citizen: Overall, though, the technical difficulties diluted the emotional impact, leaving me cool towards a show I wanted to love. Here’s hoping the gremlins were stomped out after opening night.

Samara Caplan, APT613: With such a strong lineup for the cast, it’s hard to pinpoint just one favourite, but you’ll certainly have a special place in your heart for the incredible baritone of Matthew Patrick Quinn as Hades and for the Fates, played by Dominique Kempf, Belén Moyano, and Nyla Watson. The small but mighty cast is elevated by the outstanding onstage musicians who bring the big-band jazz sound to this mythical tale. 

SAFE Credit Union Performing Arts Center - Sacramento, CA

Courtney Symes, BroadwayWorld: In a gorgeously sensual meld of New Orleans jazz club meets steampunk, the music of Hadestown combines with a functional set of mechanical artistry by Rachel Hauck that only needs a touch of Bradley King’s magical lighting design to transform a dystopian city into the lower levels of hell. 

Paramount Theatre - Seattle, WA

Jay Irwin, BroadwayWorld: Now, this may be a myth from ancient Greek times but don’t expect togas and grand pillars as Mitchell has infused her score and our story with a very gritty, dirty, blues/creole kind of vibe.  The surface world feels like a New Orleans working town in the 20’s-ish and the underworld is a grungy factory.  From the moment these performers and musicians set foot on stage, and we hear that first scintillating note from trombone player Emily Fredrickson, you know you’re in for the sexiest party you’ll ever be invited to … with your clothes still on.  But beyond the vibe, Mitchell’s book, lyrics and score are some of the best things to come out of Broadway.  This show truly is a masterpiece. 

Gemma Wilson, Seattle Times: Vocally, Orpheus lives in the tenor stratosphere, his soaring youthful falsetto a contrast to Hades’ subterranean bass. On opening night, unfortunately, LeMoine didn’t have the notes Orpheus needs to cut through the clamor of the rest of the show. Without his song, Orpheus, and with him some of the show’s most powerful themes, gets diluted, if not drowned out entirely.  Luckily, other themes remain potent as ever. While “Hadestown” directly indicts capitalism and climate change in its setting and plot, the show dives thematically into the power of art, the power of love and the power of knowing the limits of each. Beautiful or not, what good is a song if its singers are dying of hunger?

Queen Elizabeth Theatre - Vancouver, BC, Canada

Alyson Eng, BroadwayWorld: The music of Hadestown drew inspiration from jazz and blues combined with folk elements and swing. The tapestry of sound created in part by the incredibly talented orchestra (on stage with the actors), captured the moments of love, loss, and resilience throughout the show. Anaïs Mitchell wove together the most beautiful lyrics complementing the narrative that really shaped the emotional landscape of the musical. The noticable fan favorite songs were those taking place at the upbeat or high points of the show such as “Livin It Up On Top” and “Wait For Me.” The songs of Hadestown were integral to the overall nature of the musical and contributed to the musical’s unique qualities amongst others. 

V.S. Wells, The Georgia Straight: While the first half takes its time to set the scene in the out-of-time, out-of-place world, the second act goes full-throttle. The tightly packed emotional beats pair with the powerful songs, as reprises, interpolation, and leitmotifs wind their way between numbers like a symphony. 

Benedum Center for the Performing Arts - Pittsburgh, PA

Greg Kerestan, BroadwayWorld: After its premiere, many critics described Hadestown as the second coming of Hamilton, mostly for its multigenerational popularity, genre-bending sounds and diverse cast (which has only grown more and more diverse as time goes by). It's actually more accurate to draw a line between Hadestown and RENT, both of which are written in a mix of song and free-form rhyming couplets and concern the power of music to forge bonds that conquer even death. Mitchell's magnum opus is a much more polished and nuanced work than Larson's, but Mitchell had the luxury of a series of revisions and improvements over the course of a life still ongoing. Like Orpheus, she has been constantly and consistently "working on a song."

Morrison Center for the Performing Arts - Boise, ID

Jeanne Huff, Idaho Press

Popejoy Hall - Albuquerque, NM

Adrian Gomez, ABQJournal: The Fates, played by Louissaint, Markson and Schreer, had harmonies that rival the 1960s girl groups. Hearing them transported me to another dimension – which, maybe, was the point.

North Charleston Coliseum Performing Arts Center - North Charleston, SC

Maura Hogan, The Post and Courier

Broward Center For The Performing Arts - Fort Lauderdale, FL

Rod Stafford Hagwood, Sun Sentinel

Barbara B. Mann Performing Arts Center - Fort Myers, FL

NBC2: While I started out skeptical with the show, I quickly fell in love with the smart storytelling by celebrated singer-songwriter Anais Mitchell, who does an excellent job of blending the mythical and the modern world with music that is out of this world. We've already downloaded the soundtrack, infused with Blues, Jazz, and modern American folks music.

Van Wezel Performing Arts Hall - Sarasota, FL

Jacob Ruscoe, BroadwayWorld: Hadestown's true brilliance lies in its musicality and the exceptional talent of the cast. The score, composed by Anaïs Mitchell, is a fusion of folk, jazz, blues, and even hints of Americana, creating a unique and immersive experience. Each song is a gem, expertly crafted to showcase the emotions and motivations of the characters.

Kay Kipling, Sarasota Magazine: Hadestown is a sung-through musical, and it moves along quickly and inexorably as Mitchell’s songs, many of them sad or frightening, but some lively and fun (in a dark way) spin the story. Hermes (Will Mann, in a costume featuring little wings on his sleeve cuffs) is the god who opens the show and leads us along the journey, a “Road to Hell” convincingly brought to life through Rachel Hauck’s scenic and Bradley King’s lighting design (the latter so crucial to a story often smothered in the darkness). The staging here is clever, especially when the miner/workers are swinging pendulum lamps lighting Orpheus’ way through hell, or when Hades ends Act I with the chilling “Why We Build the Wall.” (And yes, that song was written long before Donald Trump took office. There’s always been someone who wants to build a wall to keep others out.)

Jacksonville Center of the Performing Arts - Jacksonville, FL

Jordan Higginbotham, BroadwayWorld: The leading lady, Eurydice (Amaya Braganza) had an astounding voice. Every song she sang had such passion. One of my favorite numbers of Braganza’s was “Flowers.” She showed such despair as the character finds herself a long way from home without the love of her life but can recount all the beautiful moments she had on the other side. Not to mention the chemistry she had with the leading man, Orpheus (J. Antonio Rodriguez). The two exhibited a love at first sight type of romance as Rodriguez introduced Orpheus with “Come Home with Me.” There is something so pure about a man being all in for a girl he has just met. Rodriguez and Barganza’s chemistry were evident in “All I’ve Ever Known”, “Wait for Me”, and “Promises.”

Chrysler Hall - Norfolk, VA

Page Laws, The Virginian Pilot: Mitchell and her creative team, especially scenic designer Rachel Hauck, carry through the circle theme in other ways, including a revolving turntable in the floor for walking hellishly long distances, and light tricks galore: e.g., swinging circular lamps that come perilously close to beaning the actors. Hauck’s design to distinguish the Earth from Hadestown below includes a portal created when the New Orleans-style bar morphs into a freight-style elevator — just right for marking the all-important gate between realms. Band members sit onstage, completing a semicircle of musicians (and actors) with impressive, even memorable musical skills.

Clowes Hall - Indianapolis, IN

The Marriage Matinee, BroadwayWorld: One of my favorite elements of the production was the way that it played with the idea of a Greek chorus who guides you through the story. The Workers Chorus, led by Hermes (Will Mann), and the on-stage orchestra made the experience immersive and compelling. It was a jazz club on steroids with a unifying plot all held together by these musical experts. 

Ensemble Arts [Academy Of Music] - Philadelphia, PA

Jamie Flowers, West End Best Friend: Compared to previous renditions of Hadestown, the current cast brings some slight differences that both add and detract from the show. Orpheus appears weak and fragile, similar to the way he was played on Broadway but not similar to his portrayal on recent tours. Rodriguez draws sympathy in ‘Come Home with Me’ and ‘Promises’ as the audience crosses their fingers that love will survive. Braganza is magnificent and angsty, her voice is powerful and gives life to ‘All I’ve Ever Known’ and ‘Hey, Little Songbird’. Gordon plays Persephone as quite the raucous character with an energetic voice that hits every note, with dancing reminiscent of Vaudeville fun. She and Quinn play off one another and their characters bring charisma and brightness than could easily be darkened by the dark, malevolent depths of Hadestown.

Landmark Theatre - Syracuse, NY

Len Fone, Syracuse.com: Reaching back to rituals that spawned theater itself, the musical is an extraordinary experience, hitting primitive emotional notes while driving towards the great questions of our own time.

Boch Center - Boston, MA

Isabelle A. Lu, The Crimson: The tour cast’s vocal power nails the impossible task of portraying a divinely gifted musician, his fantastical songs, and the gods themselves. Orpheus is played with a sweet, simple air by Rodriguez, while Eurydice hovers between cynicism and romanticism. Appropriate for this contrast, Braganza’s voice turns sharply between dynamics and employs swift, confrontational crescendos. She constantly leans forward with hunger, desire, or curiosity while gripping her backpack straps, as if poised to flee or fight. Yet because the role of Eurydice bears the risks of overshadowing her lovestruck appeal with her jadedness, Braganza’s beautifully striking performance could have been tempered with gentler vocals in moments like “Flowers,” when Eurydice grapples alone with her choice to join Hades’ workforce.

Shubert Theatre - New Haven, CT

Brian Slattery, New Haven Independent:  Hadestown — which took home an armful of Tonys and other awards for its Broadway run in 2019 — is a sung-through musical, with a sound inspired pretty heavily by blues and early jazz, and as such it’s very much an ensemble piece, full of stirring melodies, rich harmonies, and driving rhythms. But Mitchell also goes for both a thematic and a character update. 

Blumenthal Performing Arts Center - Charlotte, NC

Perry Tannenbaum, BroadwayWorld: To dwell on how deeply Hadestown resonates with the American political scene is to ignore that it first workshopped in New York before the master of Trump Tower declared his candidacy. It also disrespects how well Mitchell retold the story before it developed its adhesive powers. We see Quinn as Hades soon enough, but he doesn’t assert himself until he becomes impatient for Persephone’s annual return to the underworld after she has brought on spring and summer here above.

Ed Mirvish Theatre - Toronto

Samantha Wu, BroadwayWorld: Hadestown is a sumptuous feast of a production to take in. There are so many elements to this show that lure you in, take hold and send you on a miraculous journey that leaves you wanting more at the end. This show is akin to a more adult version of a classic Disney musical; Princess and the Frog meets Hercules. Simply put, this show is mesmerizing. Starting with Mann as Hermes who possesses the exact kind of baritone that perfectly befits the New Orleans jazz club vibe. Braganza as Eurydice is warm and inviting, she embodies the innocence of her character very well. Quinn as Hades steals the show the moment he takes the stage - his sheer presence, his booming voice. He is quintessentially Hades in human form. 

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